FILM AUSTRALIA COLLECTION WRONG SIDE OF THE ROAD New Digitally Restored & Remastered Film
© ATOM 2014 A STUDY GUIDE BY JENNIFER CONNOLLY
http://www.metromagazine.com.au
ISBN 978-1-74295-408-0 http://www.theeducationshop.com.au NED LANDER GRAEME ISAAC
Background Aboriginal Media Association (CAAMA), in Alice Springs, helped develop Aboriginal film making At the time of its original release in 1981, Wrong and launch it in to the mainstream. He also pro- Side of the Road was hailed as the first narrative Photos by Carol Ruff duced the noted Arnhem Land documentaries © Ned Lander and feature to centre on the experience of a contempo- Dhakyarr Vs The King and In My Father’s Country, Graeme Isaac, 2013 rary Aboriginal group, instead of using them as bit as well as the Indigenous feature musical Bran Nue players in the main action. The film was written in Dae directed by Rachel Perkins. collaboration with the cast, which included mem- bers of the bands, Us Mob and No Fixed Address.1 After the release of the film,No Fixed Address Real events in the lives of the band members were continued to play and tour with various Australian dramatised and interspersed with live footage of mainstream bands including Split Endz, Mental the bands performing. As Anything, Mondo Rock, and Cold Chisel and supported international touring acts such as Peter The music of Wrong Side of the Road, with songs Tosh and Ian Dury. In the mid 80’s they also toured like We Have Survived, asserts that despite every- to the UK and toured through Eastern Europe thing, contemporary Aboriginal culture is alive and before the fall of the iron curtain. In August 2011 kicking – in the country and in the city! The music No Fixed Address, along with the band Coloured of Us Mob and No Fixed Address drew on rock and Stone, were inducted into the Hall of Fame at the reggae to reflect a contemporary Aboriginal ‘resist- inaugural National Indigenous Music Awards. Us ance culture’. These were 2 of the first Indigenous Mob was the subject of an ABC Message Stick bands in Australia to be writing songs in a con- documentary in February 2000. temporary style, about their own experience and reaching out to both black and white audiences. This iconic 1980s film has been remastered and restored to the filmmaker’s original vision by the Since directing the AFI winning Wrong Side of the National Sound and Film Archive.2 Road Ned Lander has gone on to work as a writer, RONNIE ANSELL (CENTRE) producer and broadcast executive for SBS OF US MOB REMEMBERS Independent. He produced Rachel Perkin’s HIS DROVING DAYS first feature Radiance, and at SBS com- missioned the documentary series First Australians. He recently completed the te- lemovie Dangerous Remedy starring Jeremy Sims, Susie Porter and William McInnes and is currently executive producer of Jeremy
Sim’s feature Last Cab to Darwin starring SCREEN EDUCATION © ATOM 2014 Michael Caton, Ningali Lawford and Jackie Weaver.
Co-producer and Co-writer Graeme Isaac was the supervising producer of the first short drama series by Indigenous directors, From Sand To Celluloid and Shifting Sands, which along with the Central Australian 2 Synopsis Wrong Side of the Road follows two days in the lives of Aboriginal bands Us Mob and No Fixed Address as they trek from Port Adelaide to Point Pearce in South Australia, but it is more than a traditional road movie. The members of the bands play themselves, acting out incidents from their lives and those NED LANDER DIRECTS GAYLE of their friends. The loose narrative is RANKINE. LEILA RANKINE SITTING linked together with rocking songs and biting lyrics. The film is punctuated by run-ins between the musicians and white authority, and subplots centred on each member of the band. Vonnie’s Curriculum and boyfriend is in jail, Pedro is considering Educational Suitability quitting the band and Bart’s dreams take him to his upbringing in a Wrong Side of the Road will have relevance to juvenile institution. In one of the film’s students of English, Media, History and Drama. central narrative threads Les, who The study of the film also has potential links was adopted out to a white family to the National Curriculum General Capability at a young age, is searching for his of Intercultural Understanding and the Cross Aboriginal family, at a time when the Curriculum Priority; Aboriginal and Torres Strait ‘stolen generation’ history was not Islander histories and cultures. The film provides known by the broader Australian opportunities for students to engage in discussions community. about the Stolen Generation, racism in Australian society and the representation of Indigenous The film does not dwell on injustice. Australians, in various time periods and contexts, It shows a gutsy people standing in Australian film. It is most suitable for Senior up to a racist society, and explores Secondary (Years 10 – 12) and students studying at the uniqueness and resilience of a tertiary level. the Aboriginal community. This uncompromising film and its Students and teachers need to be aware that the film contains course language and drug use. empowering music are as relevant 3 today as they were 33 years ago. References to ‘text’ in this guide refer to film and multimodal texts as well as the written word.
Summary of links to the National Curriculum
The table on the following page provides a sum- mary of links to the National Curriculum and the draft of the National Curriculum for Media and Drama.
Reference: SCREEN EDUCATION © ATOM 2014 http://www.australiancurriculum.edu.au4 http://www.acara.edu.au/verve/_resources/DRAFT_ Australian_Curriculum_The_Arts_Foundation_ to_Year_10_July_2012.pdf5 http://www.australiancurriculum.edu.au/ SeniorSecondary/English/English/Overview-of- the-senior-secondary-Australian-Curriculum6 CARROLL KARPANY, US MOB 3 LEARNING YEAR 10 YEARS 11-12 AREA
ENGLISH YEAR 10 YEAR 11 Language Unit 1 Understand how language use can have Investigate the relationships between language, context and meaning by: inclusive and exclusive social effects, • explaining how texts are created in and for different contexts (ACEEN001) and can empower or disempower • Analysing how language choices are made for different purposes people (ACELA1564) and in different contexts using appropriate metalanguage; for Understand that people’s evaluations example, personification, voice-over, flashback, salience (ACEEN002) of texts are influenced by their • Evaluating the choice of mode and medium in shaping the response value systems, the context and of audiences, including digital texts. (ACEEN003) the purpose and mode of Unit 2 communication(ACELA1565) • Analyse and evaluate how and why responses to texts vary through: Literature • analysing changing responses to texts over time and in different cultural Compare and evaluate a range of contexts. representations of individuals and Create a range of texts: groups in different historical, social and cultural contexts (ACELT1639) • using imaginative, interpretive and persuasive elements for different purposes, contexts and audiences Analyse and explain how text structures, language features and visual features YEAR 12 of texts and the context in which texts Unit 3 are experienced my influence audience response (ACELT1641) Compare texts from similar or different genres and contexts by: Evaluate the social, moral and • analysing and evaluating how similar themes, ideas or concepts are treated in ethical positions represented in different texts. texts (ACELT1812) Reflect on their own and others’ texts by: Analyse and evaluate how people, • analysing and evaluating how different texts represent similar ideas in different cultures, places, events, objects ways and concepts are represented in texts, including media texts, through language, structural and/or visual choices (ACELY1749)
LEARNING YEAR 10 YEARS 11-12 AREA
DRAMA YEAR 10 Various links to studies across different national Making senior Drama curricula 10.1 Develop internally consistent, motivated roles and characters conveying a subtext of social and psychological situations, relationships and status 10.6 Integrate other art forms and learning areas to develop ideas and issues to explore symbol, subtext and performance styles
HISTORY YEAR 10 MODERN HISTORY Depth Study: Rights and Freedoms YEAR 11 Background to the struggle of Aboriginal and Torres Strait Islander peoples for rights and Unit 2: Depth study freedoms before 1965, including the 1938 Day of Mourning and the Stolen Generations area: Recognition and (ACDSEH104) rights of indigenous peoples The significance of the following for the civil rights of Aboriginal and Torres Strait Islander peoples: 1962 right to vote federally; 1967 Referendum; Reconciliation; Mabo decision; Bringing Them Home Report (the Stolen Generations), the Apology (ACDSEH106) Methods used by civil rights activists to achieve change for Aboriginal and Torres Strait Islander peoples, and the role of ONE individual or group in the struggle SCREEN EDUCATION © ATOM 2014 MEDIA YEAR 10 YEARS MAKING 11 & 12 10.3 Manipulate representations to invite alternate social, cultural and environmental viewpoints Various links to studies and audience interpretations across different national senior Media curricula RESPONDING 10.7 Evaluate the effectiveness of codes and conventions within a media arts work to engage audiences and communicate ideas and concepts
4 -1900s, 1920s, 1950s, 1980s and now.
After this activity ask students to write a short summary that explains why their position did or did not differ for each era. Students could also reflect on how their own experience influenced their response.
*It will be important for teachers to approach this task with sensitivity, taking into account individual backgrounds and experiences. The task could be a class discussion or a personal written reflection.
VERONICA RANKINE 3. The 1970s and 1980s in Australia
What was Australian society like at the time this film was set? Write a list of 10 questions and inter- view at least 2 different people about society in the 1970s/80s. Questions should cover topics such as Pre-viewing activities popular music, food, housing, attitudes to govern- ment, family relationships and national identity. Historical context Investigate society at this time in more depth by 1. An overview of the history of developing a table that summarises significant Indigenous Australians events and attitudes. Headings could include; music, the role of women, morality, attitudes to Before viewing the film it could be useful to estab- government, family relationships, major events, lish a historical context to enable students to better indigenous rights, multiculturalism and housing. understand the issues raised, as well as the time period the film was made in. To begin, establish Refer to the following website for more information: student prior knowledge about the history of http://www.skwirk.com/p-c_s-14_u-189_t- Indigenous Australians, (including civil rights cam- 508_c-1881/1970s-decade-in-context/ paigns, Reconciliation and the Stolen Generation) nsw/history/australia-s-social-and-cul- by conducting a class brainstorm. This is an issue tural-history-in-the-post-war-period/ many students will have encountered in studies social-and-cultural-features-of-the-1970s prior to Year 10; however, it is important to identify and clarify misconceptions before viewing the film. Indigenous australians in film and music After brainstorming students can access the fol- lowing websites to look at these issues in greater 1. Create a list of texts that you have viewed, read detail. Students watching the film as part of the or listened to that have been written, produced study of history will have an opportunity to under- or performed by Indigenous Australians. Share take a more in-depth study after viewing. your work with the class and as a group put the texts in chronological order based the year the http://australia.gov.au/about-australia/ US MOB (L-R WALLY work was created. australian-story/reconciliation MCARTHUR, RONNIE ANSELL, 2. Make a list of Indigenous Australian musicians http://australia.gov.au/about-australia/ PETER BUTLER, CARROLL australian-story/sorry-day-stolen-generations KARPANY) http://www.nsdc.org.au/stolen-generations/ history-of-the-stolen-generations/ the-history-of-the-stolen-generations http://www.creativespirits.info/aboriginalculture/ politics/stolen-generations-timeline SCREEN EDUCATION © ATOM 2014 2. Racism in Australia then and now
Ask students to rank how racist they believe Australian society was in the following decades by standing up and positioning themselves on a continuum from 1 (not racist at all) to 10 (extremely racist). 5 RELATIONSHIP WITH OTHER KEY DIALOGUE AND WHAT CHARACTER ACTIONS AND REACTIONS CHARACTERS THIS REVEALS
LES – trying to find his family after being adopted out as a young child)
RONNIE – playing in the band after being fired from his job as a jackaroo)
PEDRO – Lead singer of Us Mob. Considering whether he should leave the band and get a job)
VONNIE – sings with the band, her boyfriend is in jail)
BART – drummer and singer in No Fixed Address)
AUNTY VERONICA – a motherly figure who is related to several band members)
AMY SMITH – is from Point Pearce and has concerns about booking the band)
JON JON – is arrested and escapes at the start of the film)
VONNIE’S BOYFRIEND
LES’S FOSTER FATHER
CITY POLICEMEN SCREEN EDUCATION © ATOM 2014
COUNTRY POLICEMEN
6 and songwriters. Choose one person to re- search and create a brief presentation about their work. The presentation should include ba- sic biographical information, supporting images and examples of their work. Some suggestions of Indigenous musicians to research include: Jimmy Little, Kev Carmody, Essie Coffey, Bob Randall, Coloured Stone, Kuckles, Yothu Yindi, Warumpi, Geoffrey Gurrumul Yunupingu, Chad Morgan, Jessica Mauboy, Dub Vegas, Desert Sevenz ft. The Desert Pea Mob.
Viewing activities
1. Central characters
Use the table on the following page to take notes on the characters while viewing the film. You may choose to focus on a specific character and then share responses as a class after the film has finished. LES GRAHAM, NO FIXED ADDRESS 2 Music
Music plays a major role in establishing mood, sup- porting the action and advancing the storyline in Wrong Side of the Road. As you view the film take note of: 6. Riverside hotel (19’38)
- When live music is used How does the mise en scene indicate there will be - Examples of song lyrics and the action occur- conflict at the Riverside Hotel? How does the band ring at the time. deal with the situation? How would you react in this - When recorded music is used and how this situation? impacts on the mood in the scene. 7. Aunty Veronica’s house (25’15) 3. The beginning of the film Aunty Veronica is a motherly figure who gives The film begins with band members picking up advice and shares history. In this scene we see her Bart for a gig. Analyse the use of sound and light- in a confrontation with a truant officer. How is the ing in this scene. Why do you think the director character of the truant officer represented in the chose to begin the film this way? What predictions film in contrast with Aunty Veronica? can you make about the film based on the first scene? What do we learn about the characters and There are a number of key issues explored in this their interrelationships? scene, what are they? How does the use of music link to these issues? 4. Pedro’s story (13’42) 8. Les visits home (32’05) Pedro is unsure of the direction he wants to take and goes to look for a job at a rail yard where How would you describe the relationship between he used to work. What do we learn about him in Les and his adoptive father? What decision does this scene? Why was he treated so badly by the Les make in this scene? SCREEN EDUCATION © ATOM 2014 foreman? 9. Bart’s flashback (35’25) 5. Les’ story (15’24) and (16’37) Bart is a small child when he is taken from hospital Les is trying to find out information about his birth by welfare workers. What happens to him next in mother in these scenes. How does the use of this flashback? camera angles enhance the mood? What was your emotional response to these scenes? 7 COUNTRY COP (CHRIS HAYWOOD) QUESTIONS RONNIE ANSELL WHILE PETER BUTLER LOOKS ON. 10. Ronnie’s flashback (46’38)
Members of the band stop at a rodeo and this causes Ronnie to reminisce about his past. What RONNIE ANSELL TACKLES COP do we learn about Ronnie in this scene? (CHRIS HAYWOOD)
11. Stopped on the way to Point Pearce (56’19) Structure The band is stopped by the police on the way to and style their gig at Point Pearce. Discuss the way they are 2 treated by the police in this scene. Include your observations about the interaction between Pedro Conduct a class discussion/debate about the and the police officer. What impact do the lan- style of the film. What codes and conventions guage choices in the dialogue have in this section? does the film use? Is it stylistically conventional or unconventional? 12. The end of the film (1hr.03’54) The following quote from the producers of the film What was your reaction to the end to the film? could be given to students to assist the discussion:
Will Les find his mother? What leads you to be- The reality is that the film’s story was based on a lieve/disbelieve this? series of oral history interviews done with the band and then worked into the framework of a road Analyse how the use of music contributes to the movie that allowed the interweaving of a number story in this final section of the film. of stories and themes. We then workshopped with the cast to get them used to the filming process. In the final film, while the stories L-R JOHN MILLER, Post viewing BART WILLOUGHBY, activities RICKY HARRISON
Themes
- What are the key themes explored 1in the film? How are these themes ex-
plored through the characters and plot? SCREEN EDUCATION © ATOM 2014 - What do you think of the title? How does it relate to the plot and themes? - How does the music enhance the themes of the film?
8 Plot/story
3 Analyse the plot and story of the film by completing these questions:
-- Where is the story set? Analyse the choices made in relation to the different settings in the film focusing on the contrast between urban and country settings. -- What conflicts do the central characters face? RONNIE ANSELL (CENTRE) OF US MOB REMEMBERS HIS DROVING DAYS How do they deal with these conflicts? -- How are the major conflicts in the story introduced? were based on real events and experiences from -- How is the dramatic confrontation set up as the within the community, band members were some- film draws to its close? times playing out stories that were not their own. -- What is the climax of the film? Les’ character was based on another member of -- Make a comment on the denouement. What do the cast who was looking for his family through the you think the ending of the film suggests will shoot. Also, the actual shooting process on set was happen? one of dramatic construction, building scenes shot by shot, rather than through documentary observa- tion. So while we chose to use a lot of hand held Context camera, while there is much improvised dialogue, and while the performances have a naturalistic feel, A context study, in terms of senior English, 7 4 the film is a dramatic construction. is described as a broad focus area where stu- dents study and respond to a range of texts that Wrong side of the Road has been described as a explore similar ideas. The analysis of texts could docudrama. Docudrama is defined as a film or tele- include exploring why language choices have been vision show which combines conventions of docu- made (verbal and non verbal) – and how intended mentary and drama. Docudramas are sometimes audiences and purposes influenced choices. After referred to as a nonfiction drama as they focus on studying a variety of texts students respond to a real events and real people presented in a drama- prompt question/statement by completing a written tised way. Unlike a straight documentary, a docu- piece in a persuasive, expository or imaginative drama will tend to stick to the facts without giving style. commentary. The goal is to give people information and have them draw their own conclusions.8 Wrong Side of the Road could be viewed and studied as part of a context study on Identity and Continue to explore the style of Docudrama by Belonging or Encountering Conflict. Suggestions of viewing and discussing other work in this genre. You will find examples using the links below. http://www.ranker.com/list/ PEDRO BUTLER, US MOB list-of-all-docudrama-movies/reference http://www.flickchart.com/Charts. aspx?genre=Docudrama
Can Wrong Side of the Road be classi- fied as a Docudrama? Write an essay that explores this question and analyses how the codes and conventions used in the film en- SCREEN EDUCATION © ATOM 2014 gage the audience and communicate ideas and concepts.
Develop, script and produce your own short film in a style similar to the film.
9 RICKY HARRISON (SITTING) AND BART WILLOUGHBY
texts that the film could be studied in conjunction with include:
Identity and Belonging: Beneath Clouds (Ivan Sen, 2002), Black Chicks Talking (Leah Purcell, Brendan Fletcher, 2002), Bran Nue Dae (Rachel Perkins, 2010).
Suggested writing prompts for Identity and RICKY HARRISON, NO FIXED ADDRESS Belonging:
- It is difficult to possess a sense of belonging When researching and writing a detailed report when we are unsure of our own identity on this topic, students should demonstrate their - Our identity determines where we belong9 understanding of: Encountering Conflict:Rabbit Proof Fence (Phillip Noyce, 2002), Mad Bastards (Brendan • The nature of the relationship of indigenous Fletcher, 2011) , First Australians, Mabo (Rachel peoples with their land and their response to Perkins 2012), Redfern Now Series 1, The Tall perceptions of, and feelings about, the arrival of Man by Clare Hooper and the song From Little the colonisers Things Big Things Grow by Paul Kelly. • The basis on which the colonists claimed Suggested writing prompts for Encountering sovereignty and imposed control, including Conflict conquest, treaty and the doctrine of ‘terra nul- - The strength of someone is always shown in lius’; and the consequences for the legal status times of conflict and land rights of Indigenous peoples - Conflict is about justice and wrongdoing10 • The nature of government policies and their impact on indigenous peoples, for example The written responses for these prompts should be protection, assimilation (including the Stolen between 800-1000 words. Generations), and self-determination • The role of individuals and groups who support- ed the movement for indigenous recognition History depth study and rights, including the methods they used – Recognition and and the resistance they encountered 5 • The economic, political and social challenges Rights of Indigenous and opportunities indigenous peoples have faced, including the role of cultural activity in People developing awareness in society • The achievements of indigenous peoples at
Wrong Side of the Road could be used as re- the end of the 20th century, including the right SCREEN EDUCATION © ATOM 2014 source for a Modern History depth study of the to vote, land rights/native title, and attempt at Recognition and Rights of Indigenous People, to reconciliation give students an understanding of the issues faced • The continued efforts to achieve greater recog- by Indigenous Australians in the 1970s and 1980s. nition, reconciliation, civil rights, and improve- The fact that the film dramatises actual events ments in education and health 11 from the lives of the band members is of particular interest. 10 Media presentation Context http://www.vcestudyguides.com/guides/ 6 Use ICT to create a 2 minute, visual, histori- context/encountering-conflict/ cal account of the issues raised in Wrong Side of encountering-conflict-prompts the Road. Use voice over, images and appropri- http://www.vcestudyguides.com/guides/ ate music to represent the film and to show your context/identity-and-belonging/ understanding of the themes and issues. identity-and-belonging-prompts
(Endnotes) Drama 1 Meaghan Morris, ‘Wrong Side on right track for Aborigines’, The Australian Financial Review, 30 7 Film is a useful tool for performance stimu- October 1981 lus. Students could view Wrong Side of the Road, 2 Catherine Peake, ‘Facts of life in black urban identify the themes and explore these themes when Australia’, The National Times, 16 November, developing their own performances. The open 1981 ending to the film provides potential for students to 3 ‘Wrong Side of the Road.’ Sydney Film Festival carry on each of the character-focused story lines. -. N.p., n.d. Information context/encountering-conflict/encountering- SCREEN EDUCATION © ATOM 2014 http://www.abc.net.au/gnt/history/Transcripts/ conflict-prompts>, accessed 7 December 2013 s1151991.htm 11 ‘Modern History.’ The Australian Curriculum http://www.creativespirits.info/resources/movies/ V5.1 Senior Secondary Curriculum. Acara, wrong-side-of-the-road n.d. Web. 12